487:. In Axer's script, which adhered to the spirit of the original, the roles were supposed to be more like caricatures. Historian Tadeusz Lubelski retrospectively commented on Axer's script with the following words: "Communists are even more decent and busy, aristocrats and former Home Army members – even more vile and reckless." Bohdziewicz's script contained a similar propaganda message, depicting the command of the Polish resistance in a bad light. There, Major Waga blackmailed Maciek to kill Szczuka, threatening him with a war trial; in the end, Maciek decided to support Szczuka. However, none of these scripts were implemented, and policymakers considered Bohdziewicz's vision too "defensive."
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607:. Party intellectuals were dissatisfied with making Maciek Chełmicki the main character of the film. It was then that Andrzejewski himself, who–with the support of his fellow writers–convinced PZPR activists that the ideological message of the film was correct; without the help of the author of the novel, Wajda's work would have never been released. The official screening took place on 7 July 1958, after which
393:. On the way to the train station, Maciek observes Andrzej beating Drewnowski for his newfound, opportunistic support for the underground. Maciek flees when Drewnowski calls his name. He accidentally runs into some soldiers of the Polish People's Army and draws his pistol in panic. They shoot and fatally wound him. Maciek escapes to a garbage dump, but he collapses and dies in agony.
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want to become attached as Maciek does not plan to stay in town for long. They decide to go for a walk. When it begins to rain, Krystyna and Maciek take shelter in a ruined church. Krystyna notices a poem inscribed on the wall, and Maciek somberly recites it from memory. The lovers say their goodbyes, with Maciek promising to change his situation so he can stay with her.
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beautiful", but at the same time it emphasizes "zeal, anxiety, takeover, great emotional passion". Ernest Bryll devoted a broader analysis to the evaluation of the antique structure of film work, with an inseparable fate showing the tragedy of the main character's actions. The role of
Zbigniew Cybulski, as well as the musical arrangement and the cinematography of
713:. Kałużyński sought an anachronism in the portrait of Maciek's persona, considering its styling more appropriate for contemporary times than for 1945. In turn, according to Woroszylski, "the Home Army soldiers have been endowed with such a clear sense of the absurdity of their misdeeds that it's hopeless." Marxist reviewers criticized
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575:. Having come to the film set, Cybulski instantly refused to play in a partisan uniform suggested by costume designer Katarzyna Chodorowicz, and insisted on wearing his "fifties' style dark glasses, jacket and tight jeans." Wacław Zastrzeżyński, a theatrical actor with barely any film experience, was cast as Szczuka.
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and
Szczuka. Also, Wajda suggested that the story be condensed to only one day, with Maciek acting as the central hero. Wajda and Andrzejewski completed the screenplay in January 1958, giving it for scrutiny to the Commission for Screenplay Assessment. After long consideration, the Commission, whose members were
717:, highlighting its alleged lack of educational functions and the marginalization of Szczuka, who was depicted in the film as a mediocre party activist. Stanisław Grochowiak, who found in Wajda's drama the "eschatological dimension" of the classical tragedy, rejected such propagandist interpretations.
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In
November 1957, Wajda carried out a letter conversation with Andrzejewski, during which the future director suggested several changes to the initial version of the story. A thread which concerned the judge Antoni Kossecki was deleted so that the main plot focused on the confrontation between Maciek
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Maciek returns to the bar where he discusses his sense of duty and obligation to the cause with
Andrzej. However, Andrzej is unsympathetic to his plight and says Maciek will be a deserter if he does not fulfill his obligation to assassinate Szczuka. Meanwhile, a completely drunk Drewnowski spoils the
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for Polish and international audiences were for years a source of knowledge about the times after the Second World War. However, he also noted that the director–in contrast to the author of the original–toned down the propagandist message of the book, in which the underground soldiers were directly
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During the party, Maciek has a flirtatious conversation with a barwoman named
Krystyna and invites her to his room. Afterwards, he goes to his hotel room to check his gun. Krystyna comes to his room after her shift ends. As they lay naked in bed, they realize they are in love, but Krystyna does not
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soldiers, who supposedly unjustly continued their struggle against the new political reality, were pointed out at that time. These voices, however, included Jan Józef
Szczepański's opinion, which was devoid of ideological tone. In his opinion, Wajda showed the viewer the qualities of Polish young
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Andrzej and Maciek's superior, Major Waga, learns of the failed assassination attempt. Waga orders
Andrzej and Maciek to attempt the mission for a second time. They come to the Hotel Monopol Restaurant, where a banquet in honour of the victorious war begins, but the combatants do not participate.
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faced the accusations of falsifying history. Andrzej Werner accused the film of a historical lie, while film critic
Waldemar Chołodowski criticized Wajda's work for suggesting that the representatives of the underground should be isolated from society. Krzysztof Kąkolewski deplored the fact that
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Critics looking for aesthetic issues in Wajda's work have interpreted it in a different way. Jerzy
Kwiatkowski noted the high expression of adaptation in comparison with the original. Alicja Helman, in turn, put forward the opinion that "there is everything in this film–too much, too good, too
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started in March 1958, and finished in June 1958, after 60 shooting days. The film was shot in 1:1.85 format, which had never been used before in Polish cinema. During filming, the crew made crucial changes in the scenario, which affected the future reception of the film. For example, Cybulski
989:, 1992). This work included self-plagiarism of the scene of lighting glasses in a bar (Cybulski was imitated by Tomasz Konieczny, while Rafał Królikowski embodied Adam Pawlikowski), but the scene was set in a different, self-ironic context. However, while conservative circles regarded Wajda's
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Maciek waits for
Szczuka to leave the hotel to meet his captured son, follows him, and shoots him to death. The next morning, Maciek plans to leave Ostrowiec by train. He tells Krystyna of his decision to depart, leaving her heartbroken. The hotel guests dance to a pianist and band playing
642:, which highlights the director's characteristic style, while dealing with the Second World War. Despite the condemnation of the film by some Communist critics, many supporters of independent Poland identified themselves with the role of Maciek. Cybulski has been compared to
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banquet, covering the other guests with foam from a fire extinguisher, and leaves the ball in shame with his intended career as a Communist functionary in ruins. After the reception, Szczuka learns that his son Marek has been arrested for joining an underground militia.
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review stated that "Wajda's way is the sweet smell of excess, but some scenes remain powerfully memorable – the lighting of drinks on the bar, the upturned Christ in a bombed church, and Cybulski's prolonged death agonies at the close." As David Parkinson from
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be first filmed in the atelier, then in the open air. The main scenography made in the atelier represented the Monopol Hotel restaurant. However, the film crew did also use authentic locations, such as the St. Barbara's Church in Wrocław and a chapel near
311:, as well as Cybulski, who played the leading role. The film received permission from the authorities to be distributed only through Andrzejewski's intercession. The film did not receive permission to be screened at the main competition at the
539:, the decision made due to possible savings and to prevent the policymakers from intervening too much in the film development. On 3 February 1958, the acting Chief of Cinematography Jerzy Lewiński decided to start the production of
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suggested that Szczuka should hold Maciek while dying; Wajda added scenes containing Christian iconography; and Morgenstern invented the most widely known scene, during which Maciek and Andrzej light up the glasses filled with the
303:, was subtly modified in comparison with the source material. Wajda sympathized with the soldiers of the Polish independence underground; thus, he devoted most of the attention to Chełmicki. During the three-month development of
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people during the war. Simultaneously, critics connected with the authorities had doubts about whether the director would not glorify this generation, which would induce the audience's solidarity with the "reactionary" soldier.
479:, published for the first time in 1948. The novel was a mandatory school set book in communist Poland and enjoyed respect among the contemporary authorities. The first directors who tried to adapt the book into a film were
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Wajda then began gathering the film crew. Stanisław Adler became the producer, whereas Jerzy Wójcik took the cinematography, and Filip Nowak was commissioned to select music material for the film. It was decided that
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as a fair settlement of accounts with the past period, the film aroused embarrassment among liberal critics, with Jakub Majmurek writing about "the most painful aesthetic self-disgrace" on the part of the director.
2217:
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Barba, Eugenio. Land of Ashes and Diamonds: My Apprenticeship in Poland, Followed by 26 Letters from Jerzy Grotowski to Eugenio Barba, translated by Judy Barba and Eugenio Barba. Aberystwyth: Black Mountain Press,
600:. The ending was changed, too; Wajda cut down the scene from the novel, during which some soldiers of Polish People's Army commented on Maciek's death with following words: "Hey, you, ... what made you run away?"
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was widely praised by film critics. The Italian critic Nevio Corich found in the film a lyrical reference to Baroque art. Some film experts, such as Fouma Saisho, pointed to the poetic qualities of the work.
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stated that Wajda's version warms the image of the underground to a much greater extent than the ones proposed by Axer and Bohdziewicz. Unlike Kąkolewski, Lubelski was convinced that the moment of the
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in his performance, which was complemented by the fact that with his appearance, Polish actor personified the contemporary generation of the 1950s. In total, around 1,722,000 spectators watched
543:, without consulting the authorities. The contract for the commission guaranteed Wajda a salary of 69,000 Polish zloty, whereas Andrzejewski received 31,500 Polish zloty. The overall budget of
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952:, 1960). Unlike Maciek Chełmicki, the protagonist of this film–also a soldier of the independence underground–does not carry out the order, but tries to start life anew and settle in the
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made a pastiche of an iconic "scene with lamps". Here, Cybulski's character is not a conspirator ready to act, but an unshaven, drunken mythomaniac recalling his alleged heroic deeds.
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was an international success. According to Janina Falkowska, this is Wajda's most recognizable film, and–in the opinion of Marek Hendrykowski–the most important achievement of the
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on fire. Their hapless comrade Drewnowski gets drunk at the bar, where he discusses career prospects in postwar Poland with Pieniążek, a representative of the democratic press.
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In the foreground, due to the then-prevailing Communist system, among the issues discussed by critics were attempts at ideological interpretation. The tragic actions of
615:, who demanded that the authorities ban the film, its official premiere took place on 3 October 1958. Nevertheless, due to the still existing doubts about its message,
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decided to go to Poland for his further studies in directing. He enrolled his name at Warsaw University but could not complete his studies and did apprenticeship with
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is not a brilliant film, but it is certainly a great film". Jerzy Płażewski called Wajda's film "excellent." Several other Polish film and literary critics–
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2218:"Hollywood legends DiCaprio and Scorsese send film buffs wild after revealing how they were inspired by Polish legends Wajda and Cybulski"
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is considered by film critics to be one of the great masterpieces of Polish cinema and arguably the finest film of Polish realist cinema.
981:(1972), there is a renewed reference to the final dance. Under the influence of criticism from conservative reviewers, the director made
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1969:
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Coates, Paul (1996). "Forms of the Polish Intellectual's Self-Criticism: Revisiting Ashes and Diamonds with Andrzejewski and Wajda".
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considers the ending of the film to be one of the most powerful and often quoted endings in film history. The film was ranked #38 in
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shared an opinion that "ollowing the art cinema technique of the time, Wajda tends toward harsh and overstated imagery," while the
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magazines "The 100 Best Films Of World Cinema" in 2019. In the 2015 poll conducted by Polish Museum of Cinematography in Łódź,
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Polish film critics generally were delighted with the film adaptation of Andrzejewski's novel. Stanisław Grzelecki assessed
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said, " final installment of the classic Polish trilogy is heavy in symbolism but remains affective and intimate viewing."
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However, some critics were irritated by the alleged mannerism of the work and the exposition of Baroque ornamentation.
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The director experienced some issues with the selection of the future cast. However, he found support in the person of
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soldiers Maciek, Andrzej and Drewnowski prepare to assassinate Konrad Szczuka, a political opponent and a secretary of
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2011:"Quentin Tarantino, Martin Scorsese, Woody Allen, Francis Ford Coppola and Michael Mann List The Best Movies Ever"
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received the FIPRESCI Prize at the Venice Film Festival in 1959. The film was also nominated twice for the
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of Polish partisans. Nevertheless, the film has maintained its reputation as one of the most famous
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940:, causing a polemical reaction from other directors of the movement. In 1960, one of its members,
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362:. The ambush fails, as the attackers later learn that they have mistakenly killed two innocents.
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370:" and reminisce over their fallen comrades. In honour of them, Maciek lights several glasses of
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as "a new, outstanding work of Polish film art." According to Krzysztof Teodor Toeplitz, "
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takes place in 1945, shortly after World War II. The main protagonist of the film, former
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met positive critical reception, both in Poland and worldwide. However, after the
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underground. Maciek receives an order to kill Szczuka, the local secretary of the
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The most troublesome task was to convince the communist authorities to display
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On 8 May 1945, at the end of World War II, near a small country church, former
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2185:"The European Masterpieces Part 3: Ashes and Diamonds (1958 Andrzej Wajda)"
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834:" category and Andrzej Wajda nominated in the "Best Film from any Source".
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in the role of Maciek, although the director considered the candidature of
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In 2013 Martin Scorsese selected it for screening alongside films such as
532:
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The myth of Cybulski also resounded in Wajda's later films. In his works
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579:, a musicologist, took the role of Andrzej, whereas Cybulski's colleague
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and Andrzej Karpowski, decided to vote for the screenplay's acceptance.
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1038:. Barba had written a book on his experiences in Poland under the name
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293:. Over time, Chełmicki increasingly doubts if his task is worth doing.
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had "an enormous impact" on him as a young man, and the lyrics of the
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Having the screenplay accepted, Wajda prepared for the development of
2670:. Kraków: Towarzystwo Autorów i Wydawców Prac Naukowych Universitas.
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adaptation, though he eventually decided to focus on a comedy titled
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was ranked as the third greatest Polish film of all time. Directors
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503:). Thus, he gave Andrzej Wajda an opportunity to launch a project.
324:
2952:
1996:"They Shoot Pictures, Don't They? Hayao Miyazaki Director Profile"
1933:
299:, although based on the novel that directly supported the postwar
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While sitting in the bar, Maciek and Andrzej listen to the song "
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2494:
Andrzej Wajda: History, Politics, and Nostalgia in Polish Cinema
1948:
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Kino, wehikuł, magiczny: przewodnik osiągnięć filmu fabularnego
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Strategie autorskie w polskim filmie fabularnym lat 1945-1961
2418:"Ashes and Diamonds, directed by Andrzej Wajda - Film review"
1923:"The 100 Best Films Of World Cinema – 38. Ashes and Diamonds"
19:
This article is about the 1958 film. For the 1948 novel, see
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have listed it as one of their favourite films of all time.
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were banned from taking part in the main competition of the
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1941:"Polska – Najlepsze filmy według wszystkich ankietowanych"
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compared Wajda's work to those of the prominent director
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and Wiktor Woroszylski had the greatest complaints about
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could be distributed in cinemas. Despite the protests of
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was perfectly captured during the shooting of the film.
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Cinematic Terror: A Global History of Terrorism on Film
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Martin Scorsese Presents: Masterpieces of Polish Cinema
531:. At first, the director intended to shoot the film in
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2697:(in Polish). Warszawa: Wydawn. Krytyki Politycznej.
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The Red and the White: The Cinema of People's Poland
2243:"100 Greatest Foreign Films from Movieline Magazine"
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for several times at Oslo in 1960, theatre director
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265:, it completed Wajda's war films trilogy, following
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1139:Halliwell's Top 1000: The Ultimate Movie Countdown
936:had a significant impact on the development of the
2395:
1461:
1230:"Seven countries, seven posters, one classic film"
1171:A Century of Films: Derek Malcolm's Personal Best
3336:Films about Polish resistance during World War II
2160:""Solidarność" jest przykładem dal reszty świata"
828:British Academy of Film and Television Arts award
3292:
1789:
2402:. Harmondsworth, Eng. New York: Penguin Books.
1061:as one of their core inspirations for the 2006
653:
2569:(in Polish). Poznan: Zysk i S-ka Wydawnictwo.
2343:"Derek Malcolm's Top 100 Films of the Century"
2893:
2523:(in Polish). Kraków: Wydawnictwo Literackie.
1852:
2763:1001 Movies You Must See Before You Die 2012
2615:(in Polish). Gdańsk: Słowo/obraz terytoria.
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1876:
1542:
511:, Andrzej Braun, Krzysztof Teodor Toeplitz,
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830:, with Zbigniew Cybulski nominated in the "
285:soldier Maciek Chełmicki, is acting in the
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535:. However, he finally chose an atelier in
36:
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2367:"The 100 greatest foreign-language films"
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2058:"UK Film List / Martin Scorsese Presents"
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781:compared Maciek's death to the ending of
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1187:The 100 Greatest Foreign-Language Films
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625:International Federation of Film Critics
547:is estimated at 6,070,000 Polish zloty.
460:
3361:Films set in Świętokrzyskie Voivodeship
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2110:
2008:
1947:(in Polish). 2015-12-28. Archived from
1783:
852:1001 Movies You Must See Before You Die
771:. In his 1999 retrospective review for
338:, it was criticized for falsifying the
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2695:Wajda: Przewodnik Krytyki politycznej
2550:. New York – Oxford: Berghahn Books.
944:, directed a polemical film entitled
2780:
2591:
2443:(3–4). Informa UK Limited: 287–303.
2317:"The 100 Best Films Of World Cinema"
1795:
1467:
156:Zespół realizatorów filmowych „Kadr”
3326:Eastern Front of World War II films
3217:The Condemnation of Franciszek Klos
2722:"Andrzej Wajda: Ashes and Diamonds"
2497:. Berghahn Series. Berghahn Books.
1155:The 100 Best Films of World Cinema
1123:100 Best Films of the 20th Century
468:, the director of the film, in 1963
13:
2668:Historia kina polskiego, 1895-2014
14:
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754:Critical reception outside Poland
742:depicted as bandits. Conversely,
475:is loosely based on the novel by
16:1958 Polish film by Andrzej Wajda
3153:A Chronicle of Amorous Accidents
2871:—An essay by Paul Coates at the
2267:"100 Best Films - Village Voice"
368:The Red Poppies of Monte Cassino
3351:Films directed by Andrzej Wajda
2741:Parkinson, David (2006-03-24).
2613:Popiół i diament Andrzeja Wajdy
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2334:
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2284:
2259:
2235:
2216:Alex Webber (17 January 2024).
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2009:Lussier, Germain (2012-08-03).
2002:
1988:
1962:
1915:
391:"Military" Polonaise in A Major
3341:Films based on military novels
2806:(in Polish). London: Polonia.
2760:Schneider, Steven Jay (2012).
2565:Kąkolewski, Krzysztof (2015).
2449:10.1080/00085006.1996.11092126
1970:"Scorsese's 12 favorite films"
1222:
1074:
1023:makes references to the film.
518:
1:
2720:Malcolm, Derek (1999-05-05).
2567:Diament odnaleziony w popiele
2387:
2341:Pendragon, The (2018-07-22).
2293:"Halliwell's Best 1000 Films"
2291:Pendragon, The (2017-09-28).
1972:. Miramax.com. Archived from
1945:Muzeum Kinematografii w Łodzi
1017:" from the band's 1983 album
987:Pierścionek z orłem w koronie
451:
3381:Polish political drama films
3376:Polish black-and-white films
3346:Films based on Polish novels
2766:. Octopus Publishing Group.
2651:(in Polish). Kraków: Rabid.
2611:Kornacki, Krzysztof (2011).
2470:. Film Studies. Wallflower.
2394:Andrzejewski, Jerzy (1980).
2269:. 2014-03-31. Archived from
654:Critical reception in Poland
630:
7:
3316:1950s political drama films
3311:1950s Polish-language films
3280:Film New Europe Association
1860:"Best Film from any Source"
1198:
1107:100 Greatest Foreign Films
10:
3407:
3331:Films about assassinations
3057:Landscape After the Battle
2666:Lubelski, Tadeusz (2015).
2647:Lubelski, Tadeusz (2000).
2630:Lubelski, Tadeusz (1994).
2491:Falkowska, Janina (2007).
1040:Land of Ashes and Diamonds
972:Landscape After the Battle
930:festival of Polish films.
586:
491:also planned to direct an
456:
301:Communist system in Poland
18:
3391:Polish World War II films
3267:
2928:
2915:
2787:. Bloomsbury Publishing.
2592:Kehr, Dave (2017-12-14).
1045:In a 2024 interview with
837:
650:during the opening year.
215:
205:
195:
172:
162:
146:
138:
130:
120:
96:
80:
68:
58:
51:
35:
30:
2802:Werner, Andrzej (1987).
2693:Majmurek, Jakub (2013).
2632:"Trzy kolejne podejścia"
2437:Canadian Slavonic Papers
1215:
1026:After watching the film
725:, were widely accepted.
583:was cast as Drewnowski.
509:Aleksander Ścibor-Rylski
181:3 October 1958
3121:The Orchestra Conductor
1884:"Foreign Actor in 1960"
396:
349:
3386:Polish war drama films
3177:The Crowned-Eagle Ring
2548:Polish National Cinema
2546:Haltof, Marek (2002).
2519:Garbicz, Adam (1987).
1234:British Film Institute
1015:Two Suns in the Sunset
991:The Crowned-Eagle Ring
983:The Crowned-Eagle Ring
819:Awards and nominations
670:
469:
344:Polish motion pictures
277:(1956). The action of
42:1958 Polish poster by
3321:1950s war drama films
2993:Siberian Lady Macbeth
2464:Coates, Paul (2005).
2347:The Pendragon Society
2297:The Pendragon Society
2029:"Roy Andersson | BFI"
954:Recovered Territories
697:an exceptional work.
661:
497:Kapelusz pana Anatola
464:
360:Polish Workers' Party
291:Polish Workers' Party
92:by Jerzy Andrzejewski
3371:Films shot in Poland
2873:Criterion Collection
2869:"Ashes and Diamonds"
2804:Polskie, arcypolskie
2743:"Ashes and Diamonds"
2594:"Ashes and Diamonds"
2039:on February 23, 2016
875:Francis Ford Coppola
683:Stanisław Grochowiak
621:Cannes Film Festival
415:Wacław Zastrzeżyński
321:Venice Film Festival
313:Cannes Film Festival
249:, based on the 1948
113:Wacław Zastrzeżyński
3366:Films set in Warsaw
3356:Films set in Poland
3249:Walesa: Man of Hope
3033:Everything for Sale
2781:Shaw, Tony (2014).
2068:on October 17, 2015
1976:on 26 December 2013
1757:, pp. 185–187.
1697:, pp. 363–369.
1682:, pp. 348–362.
1665:, pp. 343–347.
1605:, pp. 378–379.
1593:, pp. 320–321.
1581:, pp. 318–319.
1494:, pp. 166–167.
1080:
758:In Western Europe,
730:Revolutions of 1989
695:Ashes and Diamonds
405:as Maciek Chełmicki
336:Revolutions of 1989
323:, where it won the
3275:Zespół Filmowy "X"
3113:The Maids of Wilko
3105:Without Anesthesia
2977:Innocent Sorcerers
2961:Ashes and Diamonds
2864:TCM Movie Database
2859:Ashes and Diamonds
2848:Ashes and Diamonds
2837:Ashes and Diamonds
2636:Kwartalnik Filmowy
2398:Ashes and diamonds
2187:. Momentary Cinema
1835:"Popiół i diament"
1210:Polish film school
1079:
1059:Ashes and Diamonds
1028:Ashes and Diamonds
1007:Ashes and Diamonds
964:Wojciech Jerzy Has
938:Polish Film School
934:Ashes and Diamonds
897:Knife in the Water
891:Innocent Sorcerers
863:Ashes and Diamonds
843:Ashes and Diamonds
824:Ashes and Diamonds
769:Erich von Stroheim
760:Ashes and Diamonds
739:Ashes and Diamonds
734:Ashes and Diamonds
715:Ashes and Diamonds
711:Ashes and Diamonds
707:Zygmunt Kałużyński
691:Andrzej Wróblewski
679:Ashes and Diamonds
675:Ashes and Diamonds
671:
663:Ashes and Diamonds
648:Ashes and Diamonds
640:Polish Film School
636:Ashes and Diamonds
617:Ashes and Diamonds
609:Ashes and Diamonds
605:Ashes and Diamonds
593:Ashes and Diamonds
565:Janusz Morgenstern
553:Ashes and Diamonds
545:Ashes and Diamonds
541:Ashes and Diamonds
525:Ashes and Diamonds
493:Ashes and Diamonds
485:Antoni Bohdziewicz
477:Jerzy Andrzejewski
473:Ashes and Diamonds
470:
332:Ashes and Diamonds
317:Ashes and Diamonds
309:Janusz Morgenstern
305:Ashes and Diamonds
297:Ashes and Diamonds
279:Ashes and Diamonds
255:Jerzy Andrzejewski
229:Ashes and Diamonds
86:Ashes and Diamonds
73:Jerzy Andrzejewski
31:Ashes and Diamonds
21:Ashes and Diamonds
3288:
3287:
3145:A Love in Germany
3081:The Promised Land
3065:Pilate and Others
3017:Gates to Paradise
2794:978-1-4411-5809-3
2773:978-1-84403-733-9
2704:978-83-63855-22-2
2677:978-83-242-2707-5
2622:978-83-7453-858-9
2576:978-83-7785-456-3
2530:978-83-08-01377-9
2504:978-1-84545-508-8
2477:978-1-904764-26-7
2137:, pp. 67–68.
2125:, pp. 63–64.
1745:, pp. 17–21.
1721:, pp. 32–45.
1543:Andrzejewski 1980
1458:, pp. 87–89.
1434:, pp. 50–51.
1380:, pp. 20–29.
1305:, pp. 13–18.
1293:, pp. 59–60.
1281:, pp. 56–58.
1269:, pp. 55–56.
1257:, pp. 54–55.
1196:
1195:
1055:Leonardo DiCaprio
903:The Promised Land
879:Paweł Pawlikowski
693:–also considered
569:Zbigniew Cybulski
403:Zbigniew Cybulski
340:collective memory
259:Zbigniew Cybulski
253:by Polish writer
225:
224:
104:Zbigniew Cybulski
3398:
3306:1958 drama films
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2064:. Archived from
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2035:. Archived from
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1081:
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744:Tadeusz Lubelski
598:rectified spirit
591:Photography for
577:Adam Pawlikowski
529:"KADR" Film Unit
513:Tadeusz Konwicki
501:Mr. Anatol's Hat
439:Ignacy Machowski
433:Stanisław Milski
421:Adam Pawlikowski
372:rectified spirit
319:appeared at the
235:Popiół i diament
188:
186:
53:Popiół i diament
40:
28:
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3089:The Shadow Line
2945:Towards the Sun
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2135:Kąkolewski 2015
2133:
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2097:
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2040:
2033:www2.bfi.org.uk
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1809:Time Out London
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1743:Kąkolewski 2015
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1317:, pp. 288.
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1228:
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1201:
1077:
1051:Martin Scorsese
1036:Jerzy Grotowski
959:How to Be Loved
924:as part of the
867:Martin Scorsese
840:
821:
805:Time Out London
756:
656:
633:
613:Aleksander Ford
589:
581:Bogumił Kobiela
573:Tadeusz Janczar
521:
459:
454:
427:Bogumił Kobiela
399:
352:
198:
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184:
182:
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158:
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134:Halina Nawrocka
116:
91:
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75:
47:
44:Wojciech Fangor
24:
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3049:The Birch Wood
3045:
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3005:
3001:Love at Twenty
2997:
2989:
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2929:Films directed
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2830:External links
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2123:Falkowska 2007
2115:
2113:, p. 323.
2103:
2101:, p. 252.
2091:
2089:, p. 979.
2079:
2062:mspresents.com
2049:
2020:
2001:
1987:
1961:
1932:
1914:
1912:, p. 350.
1910:Schneider 2012
1899:
1875:
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1822:Parkinson 2006
1814:
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1772:Falkowska 2007
1759:
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1733:, p. 157.
1723:
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1709:, p. 369.
1699:
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1646:, p. 413.
1636:
1624:
1620:Falkowska 2007
1607:
1595:
1583:
1571:
1569:, p. 317.
1559:
1557:, p. 316.
1547:
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1508:
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1472:
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1370:
1368:, p. 176.
1358:
1356:, p. 184.
1343:
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1331:
1329:, p. 177.
1319:
1307:
1295:
1291:Falkowska 2007
1283:
1279:Falkowska 2007
1271:
1267:Falkowska 2007
1259:
1255:Falkowska 2007
1247:
1236:. May 18, 2015
1220:
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942:Kazimierz Kutz
922:United Kingdom
871:Hayao Miyazaki
839:
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820:
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799:Chicago Reader
765:Georges Sadoul
755:
752:
748:Polish October
665:, a poster by
655:
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445:Jan Ciecierski
442:
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3161:The Possessed
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2559:
2557:9781571812759
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2549:
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2409:0-14-005277-1
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2348:
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2337:
2322:
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2298:
2294:
2287:
2273:on 2014-03-31
2272:
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2238:
2223:
2219:
2212:
2202:
2186:
2180:
2165:
2161:
2155:
2148:
2147:Majmurek 2013
2143:
2136:
2131:
2124:
2119:
2112:
2107:
2100:
2099:Lubelski 2015
2095:
2088:
2087:Lubelski 2015
2083:
2067:
2063:
2059:
2053:
2038:
2034:
2030:
2024:
2016:
2012:
2005:
1997:
1991:
1975:
1971:
1965:
1951:on 2017-10-08
1950:
1946:
1942:
1936:
1928:
1924:
1918:
1911:
1906:
1904:
1889:
1885:
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1818:
1811:
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1804:
1797:
1792:
1785:
1780:
1774:, p. 62.
1773:
1768:
1766:
1764:
1756:
1755:Lubelski 1994
1751:
1744:
1739:
1732:
1731:Lubelski 2000
1727:
1720:
1715:
1708:
1707:Kornacki 2011
1703:
1696:
1695:Kornacki 2011
1691:
1689:
1681:
1680:Kornacki 2011
1676:
1674:
1672:
1664:
1663:Kornacki 2011
1659:
1657:
1655:
1653:
1645:
1644:Kornacki 2011
1640:
1634:, p. 89.
1633:
1628:
1622:, p. 60.
1621:
1616:
1614:
1612:
1604:
1603:Kornacki 2011
1599:
1592:
1591:Kornacki 2011
1587:
1580:
1579:Kornacki 2011
1575:
1568:
1567:Kornacki 2011
1563:
1556:
1555:Kornacki 2011
1551:
1544:
1539:
1532:
1531:Lubelski 1994
1527:
1525:
1517:
1516:Kornacki 2011
1512:
1505:
1504:Kornacki 2011
1500:
1493:
1492:Lubelski 2000
1488:
1481:
1480:Lubelski 2000
1476:
1470:, p. 50.
1469:
1464:
1457:
1456:Kornacki 2011
1452:
1446:, p. 54.
1445:
1444:Kornacki 2011
1440:
1433:
1432:Kornacki 2011
1428:
1422:, p. 50.
1421:
1420:Kornacki 2011
1416:
1414:
1407:, p. 45.
1406:
1405:Kornacki 2011
1401:
1399:
1392:, p. 39.
1391:
1386:
1379:
1378:Kornacki 2011
1374:
1367:
1366:Lubelski 1994
1362:
1355:
1354:Lubelski 1994
1350:
1348:
1340:
1339:Lubelski 1994
1335:
1328:
1327:Lubelski 1994
1323:
1316:
1311:
1304:
1303:Kornacki 2011
1299:
1292:
1287:
1280:
1275:
1268:
1263:
1256:
1251:
1235:
1231:
1225:
1221:
1211:
1208:
1206:
1205:Polish cinema
1203:
1202:
1192:
1189:
1186:
1183:
1180:
1179:
1176:
1173:
1170:
1167:
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1128:
1125:
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1103:
1100:
1099:
1095:
1092:
1089:
1086:
1083:
1082:
1072:
1070:
1069:
1065:winning film
1064:
1063:Academy-Award
1060:
1056:
1052:
1048:
1043:
1041:
1037:
1033:
1032:Eugenio Barba
1029:
1024:
1022:
1021:
1020:The Final Cut
1016:
1012:
1008:
1004:
1000:
995:
992:
988:
984:
980:
979:
974:
973:
967:
965:
961:
960:
955:
951:
950:Nikt nie woła
947:
943:
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935:
931:
929:
928:
923:
919:
915:
914:United States
911:
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904:
899:
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893:
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886:
884:
883:Roy Andersson
880:
876:
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859:
854:
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848:
844:
835:
833:
829:
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816:
814:
813:
807:
806:
801:
800:
795:
791:
789:
788:Los Olvidados
784:
780:
779:Derek Malcolm
776:
775:
770:
766:
761:
751:
749:
745:
740:
735:
731:
726:
724:
718:
716:
712:
708:
703:
698:
696:
692:
688:
687:Stanisław Lem
684:
680:
676:
668:
667:Tomasz Wójcik
664:
660:
651:
649:
645:
641:
637:
628:
626:
622:
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514:
510:
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502:
498:
494:
490:
489:Jan Rybkowski
486:
482:
478:
474:
467:
466:Andrzej Wajda
463:
446:
443:
440:
437:
434:
431:
429:as Drewnowski
428:
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247:Andrzej Wajda
244:
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88:
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83:
79:
76:Andrzej Wajda
74:
71:
69:Screenplay by
67:
64:
63:Andrzej Wajda
61:
57:
54:
50:
45:
39:
34:
29:
26:
22:
3255:
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3007:
2999:
2991:
2983:
2975:
2967:
2960:
2959:
2951:
2943:
2937:A Generation
2935:
2858:
2847:
2836:
2803:
2783:
2762:
2750:. Retrieved
2746:
2731:. Retrieved
2727:The Guardian
2725:
2694:
2667:
2648:
2639:
2635:
2612:
2601:. Retrieved
2597:
2566:
2547:
2520:
2508:. Retrieved
2493:
2481:. Retrieved
2466:
2440:
2436:
2425:. Retrieved
2421:
2397:
2374:. Retrieved
2370:
2361:
2350:. Retrieved
2346:
2336:
2325:. Retrieved
2323:. 2019-09-23
2320:
2311:
2300:. Retrieved
2296:
2286:
2275:. Retrieved
2271:the original
2261:
2250:. Retrieved
2246:
2237:
2225:. Retrieved
2221:
2211:
2201:
2189:. Retrieved
2179:
2167:. Retrieved
2154:
2149:, p. 9.
2142:
2130:
2118:
2111:Garbicz 1987
2106:
2094:
2082:
2072:December 26,
2070:. Retrieved
2066:the original
2061:
2052:
2041:. Retrieved
2037:the original
2032:
2023:
2014:
2004:
1990:
1978:. Retrieved
1974:the original
1964:
1953:. Retrieved
1949:the original
1944:
1935:
1926:
1917:
1891:. Retrieved
1888:BAFTA Awards
1887:
1878:
1867:. Retrieved
1864:BAFTA Awards
1863:
1854:
1843:. Retrieved
1838:
1829:
1817:
1808:
1803:
1791:
1784:Malcolm 1999
1779:
1750:
1738:
1726:
1714:
1702:
1639:
1627:
1598:
1586:
1574:
1562:
1550:
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1511:
1499:
1487:
1475:
1463:
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1439:
1427:
1385:
1373:
1361:
1334:
1322:
1310:
1298:
1286:
1274:
1262:
1250:
1240:November 25,
1238:. Retrieved
1224:
1136:John Walker
1068:The Departed
1066:
1058:
1044:
1039:
1027:
1025:
1018:
1006:
1005:claims that
1003:Roger Waters
996:
990:
986:
982:
976:
970:
968:
957:
949:
946:Nobody Cries
945:
933:
932:
925:
907:
901:
895:
889:
887:
862:
856:
850:
849:in the book
847:Richard Peña
842:
841:
823:
822:
810:
803:
797:
786:
774:The Guardian
772:
759:
757:
738:
733:
727:
723:Jerzy Wójcik
719:
714:
710:
699:
694:
678:
674:
672:
662:
647:
635:
634:
627:(FIPRESCI).
616:
608:
604:
602:
592:
590:
562:
552:
549:
544:
540:
524:
522:
505:
500:
496:
492:
472:
471:
435:as Pieniążek
384:
380:
376:
364:
353:
346:in history.
331:
329:
316:
304:
296:
295:
278:
272:
268:A Generation
266:
245:directed by
238:) is a 1958
234:
233:
228:
227:
226:
197:Running time
174:Release date
125:Jerzy Wójcik
84:
52:
25:
3225:The Revenge
3209:Pan Tadeusz
3201:Miss Nobody
3129:Man of Iron
3073:The Wedding
2920:Filmography
2371:www.bbc.com
1980:25 December
1841:(in Polish)
1719:Werner 1987
1632:Haltof 2002
1390:Coates 2005
1315:Coates 1996
1075:Recognition
978:The Wedding
975:(1969) and
909:Man of Iron
783:Luis Buñuel
527:within the
519:Development
411:as Krystyna
315:. However,
271:(1954) and
257:. Starring
201:103 minutes
167:Janus Films
142:Filip Nowak
59:Directed by
3301:1958 films
3295:Categories
3257:Afterimage
3241:Sweet Rush
2752:2019-04-24
2733:2019-04-24
2642:: 176–187.
2603:2019-04-24
2483:2018-03-04
2427:2019-04-24
2388:References
2376:2020-12-02
2352:2020-12-02
2327:2022-11-15
2302:2020-12-02
2277:2020-12-02
2252:2020-12-02
2227:18 January
2164:Interia.pl
2043:2020-12-02
2015:Slash Film
1955:2019-04-24
1893:2019-04-24
1869:2019-04-24
1845:2019-04-24
1839:FilmPolski
1104:Movieline
1087:Presenter
1047:Letterboxd
1011:Pink Floyd
999:Pink Floyd
832:Best Actor
728:After the
644:James Dean
481:Erwin Axer
452:Production
447:as portier
423:as Andrzej
417:as Szczuka
330:At first,
243:drama film
185:1958-10-03
148:Production
90:1948 novel
3268:Companies
3193:Holy Week
3009:The Ashes
2822:716217264
2713:859832990
2686:941070158
2585:904779553
2539:442677119
2457:0008-5006
1796:Kehr 2017
1468:Shaw 2014
1001:frontman
794:Dave Kehr
702:Home Army
631:Reception
558:Trzebnica
356:Home Army
283:Home Army
232:(Polish:
131:Edited by
3185:Nastasja
2853:AllMovie
1199:See also
1042:(1999).
962:(1961),
737:Wajda's
388:Chopin's
325:FIPRESCI
216:Language
139:Music by
97:Starring
81:Based on
3169:Korczak
2862:at the
2510:2 March
1152:Empire
997:Former
912:in the
587:Filming
537:Wrocław
457:Writing
441:as Waga
327:award.
206:Country
183: (
150:company
3260:(2016)
3252:(2013)
3244:(2009)
3236:(2007)
3228:(2002)
3220:(2000)
3212:(1999)
3204:(1996)
3196:(1995)
3188:(1994)
3180:(1993)
3172:(1990)
3164:(1988)
3156:(1986)
3148:(1983)
3140:(1983)
3137:Danton
3132:(1981)
3124:(1980)
3116:(1979)
3108:(1978)
3100:(1977)
3092:(1976)
3084:(1975)
3076:(1972)
3068:(1972)
3060:(1970)
3052:(1970)
3044:(1969)
3036:(1969)
3028:(1968)
3020:(1968)
3012:(1965)
3004:(1962)
2996:(1962)
2988:(1961)
2985:Samson
2980:(1960)
2972:(1959)
2964:(1958)
2956:(1957)
2948:(1955)
2940:(1955)
2820:
2810:
2791:
2770:
2747:Empire
2711:
2701:
2684:
2674:
2655:
2619:
2583:
2573:
2554:
2537:
2527:
2501:
2474:
2455:
2406:
2321:Empire
2191:24 May
2169:24 May
1927:Empire
1090:Title
1057:cited
1013:song "
918:Canada
858:Empire
838:Legacy
812:Empire
669:, 2017
240:Polish
220:Polish
210:Poland
3233:Katyń
2969:Lotna
2953:Kanał
2206:1999.
1216:Notes
1181:2018
1165:2018
1149:2019
1133:2005
1117:2001
1096:Refs
1093:Rank
1084:Year
956:. In
796:from
274:Kanal
251:novel
2842:IMDb
2818:OCLC
2808:ISBN
2789:ISBN
2768:ISBN
2709:OCLC
2699:ISBN
2682:OCLC
2672:ISBN
2653:ISBN
2617:ISBN
2581:OCLC
2571:ISBN
2552:ISBN
2535:OCLC
2525:ISBN
2512:2018
2499:ISBN
2472:ISBN
2453:ISSN
2404:ISBN
2229:2024
2193:2018
2171:2018
2074:2022
1982:2013
1242:2015
1184:BBC
1174:N/A
1110:N/A
1101:N/A
1053:and
920:and
906:and
881:and
533:Łódź
483:and
397:Cast
350:Plot
261:and
2851:at
2840:at
2445:doi
1190:99
1158:38
1142:63
1126:86
785:'s
3297::
2816:.
2745:.
2724:.
2707:.
2680:.
2638:.
2634:.
2596:.
2579:.
2533:.
2451:.
2441:38
2439:.
2420:.
2369:.
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2319:.
2295:.
2245:.
2220:.
2162:.
2060:.
2031:.
2013:.
1943:.
1925:.
1902:^
1886:.
1862:.
1837:.
1762:^
1687:^
1670:^
1651:^
1610:^
1523:^
1412:^
1397:^
1346:^
1232:.
1071:.
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2430:.
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2231:.
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2017:.
1998:.
1984:.
1958:.
1929:.
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1848:.
1824:.
1812:.
1798:.
1786:.
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985:(
948:(
790:.
499:(
187:)
46:.
23:.
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